THE ADVANTAGES OF IMPROVISING A MELODY VERSUS PLAYING A MELODY
PLAYING THE MELODY
DISADVANTAGES: 1) No sufficient space to interpolate your own feelings parallel to the melody
2) Rigid stereotypic repetition , that the slightest deviation will cause the feeling of an "error" or "bad sound". This will create fear and will "slauter" the "wings" to add your own "signature" to the melody. It will stop also and suppress the ability to compose your own melodies.
ADVANTAGES: 1) You do not have to involve much of your emotions and creativity , after learning it it seems easier to repeat it each time and if the melody is played correctly it is expected by the audience to to appreciate it.
IMPROVISING THE MELODY:
ADVANTAGES:1) Plenty of free space to interpolate your own feelings parallel to the melody
2) No rigid stereotypic repetition , each time played it is somehow different . The randomness of the decorative notes of the improvisation allows for searching the appropriate melodic center that corresponds to the intended emotion or for gradual correcting till the melodic center of the original melody is found This will create an euphoria of abundance of creativity and will multiply the ability to compose your own melodies in later times.
DISADVANTAGES: 1) It requires listening to your own mood (or the mood of the audience) when improvising the melody, and there is always the risk that the current version of the improvisation of the melody is not good enough compared maybe to previous improvisations or that the audience will not appreciate it enough as you appreciate it when your are improvising it.
IN OVER ALL IT IS OBVIOUS THAT IMPROVISING A MELODY IS BY FAR MORE ADVANTAGEOUS THAN JUST PLAYING THE MELODY.
SIMPLISTIC IDEAS THAT ENCOURAGE IN IMPROVISATION IN MELODIES AND HARMONY.
(See also post 263 . 270 and 83. A SCALE OF CHORDS ORIENTED IMPROVISATION METHOD VERSUS SCALE OF NOTES OR CHORDS OF A SCALE.)
In order to improvise one has to be daring and under the flow of a kind of joy.
The educational system of classical music which is based on reading scores is not appropriate for creating improvisation abilities.
1) The most important and also simple idea in melodic improvisation, is that the improvisation must be created at first or at least as well (but usually better than what in an musical instrument) in singing or whistling which will dominate the instrument playing even if later no singing or whistling is heard.
The living bioware is always a better musical instruments than a rigid hardware musical instrument or even digital musical instrument
3) A 2nd simple idea in melody improvisation is that of the 3 types of variation: 1) translation b) inversion 3) contraction/expansion. The translation is to repeat the same melodic theme lower or higher in the scale. once or many times. This may involve deforming the exact intervals of the theme, but it creates a sense of repetition and at the same time of changes. The inversion is to make the ascending melodic theme descending but same pattern theme and vice versa. Again this may involve distorting the theme. The inversion makes the sad happy and vice-versa. Finally the expansion/contraction is the idea that chromatic intervals (2nds of 1 or 2 semitones) will create a kind of chromatic dissonance and tension, the melodic intervals (3rds major or minor) will create a sense of melodic feeling, and larger harmonic intervals of 4th, 5th of 8th a feeling of harmony. The simple idea is to wave sadness and joy or serenity and anxiety by waving from short size intervals to larger type of intervals and vice-versa.
PLAYING THE MELODY
DISADVANTAGES: 1) No sufficient space to interpolate your own feelings parallel to the melody
2) Rigid stereotypic repetition , that the slightest deviation will cause the feeling of an "error" or "bad sound". This will create fear and will "slauter" the "wings" to add your own "signature" to the melody. It will stop also and suppress the ability to compose your own melodies.
ADVANTAGES: 1) You do not have to involve much of your emotions and creativity , after learning it it seems easier to repeat it each time and if the melody is played correctly it is expected by the audience to to appreciate it.
IMPROVISING THE MELODY:
ADVANTAGES:1) Plenty of free space to interpolate your own feelings parallel to the melody
2) No rigid stereotypic repetition , each time played it is somehow different . The randomness of the decorative notes of the improvisation allows for searching the appropriate melodic center that corresponds to the intended emotion or for gradual correcting till the melodic center of the original melody is found This will create an euphoria of abundance of creativity and will multiply the ability to compose your own melodies in later times.
DISADVANTAGES: 1) It requires listening to your own mood (or the mood of the audience) when improvising the melody, and there is always the risk that the current version of the improvisation of the melody is not good enough compared maybe to previous improvisations or that the audience will not appreciate it enough as you appreciate it when your are improvising it.
IN OVER ALL IT IS OBVIOUS THAT IMPROVISING A MELODY IS BY FAR MORE ADVANTAGEOUS THAN JUST PLAYING THE MELODY.
SIMPLISTIC IDEAS THAT ENCOURAGE IN IMPROVISATION IN MELODIES AND HARMONY.
(See also post 263 . 270 and 83. A SCALE OF CHORDS ORIENTED IMPROVISATION METHOD VERSUS SCALE OF NOTES OR CHORDS OF A SCALE.)
In order to improvise one has to be daring and under the flow of a kind of joy.
The educational system of classical music which is based on reading scores is not appropriate for creating improvisation abilities.
1) The most important and also simple idea in melodic improvisation, is that the improvisation must be created at first or at least as well (but usually better than what in an musical instrument) in singing or whistling which will dominate the instrument playing even if later no singing or whistling is heard.
The living bioware is always a better musical instruments than a rigid hardware musical instrument or even digital musical instrument
2) It helps a lot for the improvisation of melodies to have the idea of STEPWISE GLISSANDO in the sense of scanning all notes in pitch linear order sequence of the scale that the instrument is tuned, so as to find the one that you will stay longer (melodic center as note of the simplicial sub-melody) or even correct to the melodic center if the melody is somehow already known. Instruments like piano, Celtic harm, or diatonic pan-flute are very helpful in this. The guitar or other string instruments with fingerboard (fiddle) or fretboard are not much helpful in this but they are helpful in chromatic stepwise glissando.
3) A 2nd simple idea in melody improvisation is that of the 3 types of variation: 1) translation b) inversion 3) contraction/expansion. The translation is to repeat the same melodic theme lower or higher in the scale. once or many times. This may involve deforming the exact intervals of the theme, but it creates a sense of repetition and at the same time of changes. The inversion is to make the ascending melodic theme descending but same pattern theme and vice versa. Again this may involve distorting the theme. The inversion makes the sad happy and vice-versa. Finally the expansion/contraction is the idea that chromatic intervals (2nds of 1 or 2 semitones) will create a kind of chromatic dissonance and tension, the melodic intervals (3rds major or minor) will create a sense of melodic feeling, and larger harmonic intervals of 4th, 5th of 8th a feeling of harmony. The simple idea is to wave sadness and joy or serenity and anxiety by waving from short size intervals to larger type of intervals and vice-versa.
4) For the harmony and in improvising at the level of chord progressions, the corresponding idea is a linear order of chords (major/minor) in sequential harmonic relation ,in other words that their roots are consecutive notes in the cycle by intervals of 4th. Given a melody in a diatonic scale or in chromatic tonality of a diatonic scale, when improvising almost randomly with chords, there is also a similar idea of stepwise glissando by chords either in diatonic pitch linear order of the roots or in the harmonic progression of their roots by 4ths so as to find the right chord and also twinkle major or minor till it fits well to the melody.
Other simple ideas to compose chord progressions involve the harmonic triad of major chords in a diatonic scale 1-4-5 and also the chords of a diatonic scale as enhanced by chromatic tonality (see post 263) Other simple ideas involve triads of harmonic pairs of chords in various relations like chromatic , melodic harmonic.
